Milieu Euphony (In Act Series #2)

Phase 2

PHASE TWO

CONFINES AND AMBIGUITY

Naririndi ako sa pagtiktik sa marmol—ang unang pumasok sa isip ko nang silipin ang lugar na pansamantalang tutuluyan.

There were a few students gathered inside the Bernini's Hall—as what the College called it even though it was a room—with tools in their hand that brought noise to the area. They were arranged in a circle—a silent decision to disturb the marble.

Ngunit ano ang mayroon sa marmol at pinipili ng mga iskultor na paingayin 'yon? Hindi pa ba sila kuntento sa anyo nitong pagiging tahimik, na kung hindi gagalawin ay hindi mag-iingay?

Ang tanong ko ay hindi upang pabalikin ang kung anomang nawala. Ang katotohanan—bigyan ang sarili ko ng direksyon kung tama ba ang landas na tinatahak.

I knew I was directionless; I'm aware of it. Alam ko rin na ilang beses ko nang kinukuha ang mga salita nila bilang gabay sa mga gawain ko. Sa sobrang dalas ng mga 'yon ay nakakabisado ko na kung alin ang tama at kung alin ang hindi.

Hindi ko lang talaga maintindihan kung bakit gusto nilang pagkaisahan ang bagay na wala namang dapat porma.

The marbles were quarried in large pieces of slab and cut into chunks of varying sizes. It was its definite form—something that had already occurred in nature, but why do the sculptors decided that it should take another form?

For what reason, exactly?

To prove that they had the best tools—their hands? Or they wanted to be known as someone who gave life to something that was not breathing?

Humugot ako ng malalim na hininga at pasimpleng ngumiwi nang marindi sa pagtiktik ng marmol. Mariin kong pinakatitigan ang mga estudyanteng naghuhulma ng bagay na hindi naman talaga dapat diktahan ang hulma.

The marbles were stiff—it should be noisy enough that no one should touch its innate nature. But the sculptors were deaf enough to disregard what they were shouting—they thought that they're the prime of all.

Like a god—that's how they treated themselves.

Iginigiit na ganito dapat ang hulma, at kapag hindi naayon sa ideyang nasa isipan, idedeklarang ang kapirasong marmol na ito ay hindi karapat-dapat ipakita sa iba.

Some of them would reason out that the marble had a different condition, or that their tools weren't sharp enough. A few of them would blame their lack of skills, but only the best would blame themselves.

Ang iskultor ang nagkamali, hindi ang materyal pag-iiskultuhan—that's where the sculptors are lost for.

Nandito ba 'ko para gabayan sila?

But was there anyone credible enough to guide one another?

Mukhang wala naman, kaya malinaw sa 'kin na hindi iyon ang landas ko.

Naningkit ang mata ko nang may makitang iskultura na hinuhulma ang isa pang iskultura. Mula sa pwesto ay tanaw ko kung gaano katigas ang kan'yang porma ngunit gano'n naman kalambot ang pagtingin sa hinuhulmang pigura. Ang kalambutang 'yon ang nagdikta na hindi iskultura ang nakikita ko kun'di isang iskultor.

I snickered.

Was there anyone stiff enough to be called as a sculpture?

There was—that dark and brooding man.

Ibang-iba ang kaanyuan niya mula sa lambot ng paghawak niya.

Nanlilinlang din siya.

Umismid ulit ako at inalala ang kagamitan na nasa loob ng maliit na bag.